Every language evolves over time, and change is unavoidable for any living tongue. Historical evidence shows that transformation occurs at all structural levels. In everyday communication, however, these shifts are often unnoticed because speakers are deeply attached to their language and may not perceive gradual developments. Nevertheless, languages continually transform: some thrive and spread, while others decline or even disappear. Across generations, pronunciation shifts, new vocabulary is adopted or created, existing words acquire new meanings, and grammatical structures either develop further or fade away. Although the speed of change differs from one community to another, change itself is constant and purposeful. Therefore, exploring the reasons behind language change is crucial for students of language and remains an important area of study for linguists, who generally adopt a descriptive perspective and recognize change as a natural and inevitable process.

This study explores the evolution of gender representation in Bhutanese literature through a comparative analysis of Karma Ura’s The Hero with a Thousand Eyes (1995) and Kunzang Choden’s The Circle of Karma (2005). Employing qualitative textual analysis and close reading, the paper uses feminist literary theory, particularly Butler’s gender performativity, Hooks’ critique of patriarchy, Spivak’s subaltern theory, and Crenshaw’s intersectionality, to interrogate the narratives. The findings reveal that Ura’s male-centered text reflects entrenched patriarchal structures, rendering women largely invisible, while Choden’s novel reclaims female agency and foregrounds women's voices. This research contributes to emerging scholarship on Bhutanese literature and gender, offering insights into the shifting sociocultural perceptions of gender roles in contemporary Bhutan and the role of literature in challenging entrenched norms.

Émile Zola, a prominent figure in nineteenth century literature, connects the themes of criminal behaviour and mental complexity in his novel, La Bête Humaine. This work reflects the principles of Naturalism, how heredity and environment can shape human behaviour, particularly through the main character, Jacques Lantier. The aim of this paper is to investigate the complex motivations behind violent conduct and criminal acts from a psychoanalytical perspective. This type of literary analysis demonstrates Zola’s ability to portray the dark dimensions of humanity from a psychological point of view in relation to societal pressures and industrial revolution.

This paper utilises the classical Indian aesthetic theory of Rasa grounded in Bharatamuni’s (1st millennium BCE) Nātyaśāstra to make sense of two canonical modern Spanish paintings: Francisco Goya’s Saturn Devouring his Son (c. 1820–1823) and Salvador Dalí’s The Face of War (1940). Both the paintings were painted during wars and have traditionally been viewed under Western aesthetic frameworks. In a break with this orientation, the current study takes an Orientalist turn where it adopts the classical Indian aesthetic framework to examine works set in a modern European cultural setting rather than apply Western literary theories to discuss Indian texts. The paper puts the viewer’s response ahead of the artist’s intentions, placing it within hermeneutics of art. Utilizing the perspective of Rasa theory, the research exposes which Sthayibhavas (mental states) are aroused in the viewer: Bībhatsam (odious/disgust) and Bhayānakam (terrible/fear) are present in Goya’s painting, while both Bhayānakam and Kāruṇyam (compassion/empathy) arise collectively within Dalí’s. The analysis proves that Rasa theory operates as a formidable cross-cultural interpretive methodology that not only travels across spatial-temporal frameworks but also describes emotional complexities beyond dueling narratives of the art's power from the simply terrifying to the transcendent, and horror to empathy. According to the paper, the Sthayibhavas ‘distributed in both paintings’ allows the viewer to pass beyond stable cultural and historical meaning into fixed reading which affirms Rasa (an aesthetic flavor) theory as an appropriate and fruitful methodology for cross-cultural deploy of Western fine art.

This study reviews Maxine Beneba Clarke's The Hate Race (2016). Drawing from Fanon's theories from Black Skin, White Masks (1952), the present investigation inspects how the protagonist's sense of self is designed and fractured under the encumbrance of the "white gaze." Clarke's illustration of racial microaggressions, linguistic alienation, and subjugation displays how colonial hierarchies continue in modern multiethnic people. By inspecting themes of shame, resistance, and self-awareness, the paper proves that The Hate Race bears a resemblance to Fanon's theory of double consciousness as the unending reconciliation between the "black self" and the "white world." This study also reveals how Clarke re-claims voice and agency through narrative performance, translating trauma into cultural confrontation. Lastly, this review contends that The Hate Race not only repeats Fanon's denunciation of colonial psychology but also spreads it into the sphere of modern racial experience.

The purpose of this research is to analyze how the ESA (Engage, Study, Activate) method of instruction affected the attitudes and knowledge of eleventh graders regarding English grammar. This goal was accomplished by means of an experimental approach. An attitude survey and a grammar accomplishment test were the two main instruments we used to gauge students' progress in English language acquisition. The researcher teaches English at Al-Yarubia Preparatory School for Girls, and the students there were selected as subjects. The sample consisted of sixty-four female students. Two of the researcher's three classes were selected to participate in the study. There was an experimental group consisting of 34 students and a control group consisting of 30 pupils. Excluding the third class, which consisted of 28 pupils, allowed the data to remain focused and believable.